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[SIZE="5"][font="Times New Roman"]Before jumping into the final section of my analysis let’s Paws, I mean pause, if you will, for a moment before going much further. Just to be as clear as pasta water. I’m NOT out to prove the “Tony died” or “Tony didn’t die” thing or getting into a tense debate about the possibility for either outcome so just throw those ideas through the colander down the drain. I beg you to make your own conclusion, as Chase intended you to and enjoy doing so without insulting your intelligence. [/font][/SIZE]

[SIZE="6"][font="Times New Roman"]Is it that we didn’t see it, or that we didn’t see it coming? Because clearly, “It’s all there.” The final sections will be taking the opinion that he indeed has left this dimension and travelled on. But "this thing of ours" is about the Journey not the destination right? “Don’t stop believing”…………...[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="5"][font="Times New Roman"]Scarlett Woman. n. The Whore of Babylon, a figure in the Book of RevelationJudas, aka Judas Iscariot was, according to the New Testament, one of the twelve original disciples of Jesus Christ, and son of Simon Iscariot. He is known for the kiss and betrayal of Jesus to the Sanhedrin for thirty silver coins. His name is often invoked to accuse someone of betrayal. [/font][/SIZE]

[SIZE="5"][font="Times New Roman"]At the risk of rewriting the Bible-loads of information that other masterful geniuses of observation have already compiled, Im gonna invoke one of the powers of a mafiaso. Im gonna lean on some people here, not out of laziness, but out of respect to their work. It is also a device for making sure they get credited as the original sources for these ideas and how the overall analysis gelled in my Brain noodle. So with that said, this section will be leaning heavily on observations I discovered on a personal blog that really resonated with my analysis so I decided to synthesize it into mine. To fold it into the sauce if you will. The blog is http://www.mikecole.org. He has a section devoted to the Sopranos finale among other things. He came up in google searches I was doing and at first I paid them no attention. But it kept coming up again and again, that I finally dug in. Boy what a treasure trove! It helped me catch and figure out so many things I was missing or couldn’t connect the dots of. I encourage you to read the entire piece, and I will try hard not to completely cut and paste it here. It will be hard though, as it will show you even more than Im about to. The full rationelle that Patsy and Rhiannon were in on the final hit on the Sopranos family, and Chase left many subtle and not so subtle missed or misinterpreted scenes for us to see this narrative without much ambiguity even. Chase is not being smug or ambiguous when he says “Its all there.” Mike Coles observations further Chases sentiment in his oft used quote on the Finale even more. Lets take a little Journey shall we. A trip into the world of the betrayer, the Judas, the insider. It begs questions that beg answers. Who benefits the most? Who had the most to gain? Who had the biggest beef? Who had the longest most established beef on the show? Who has gone to Tony’s house with a gun and aimed at Tony without Tony even knowing once? Who had his twin killed? What were we saying about twins up until now? This whole show is about this twin concept, this quantum entanglement. Of course his name is Patsy, because Oswald said he was the same thing in the JFK mythology. Its first and foremost an obvious nod to that. Add to this that in the DVD extra that comes with the complete box set is a dinner with Chase and Co. At one point Chase and another Producer admit to Chase knowing or to have written even, the finale way back before Season 2 started. Meaning not just the scene at Holstens but probably safe to assume who and why. He already had it planned out back then. He actually said this. This is a HUGE CLUE TO EVERYTHING!!! So when did this Patsy\ storyline start…. Hmmmm… maybe…. EPISODE 1 of SEASON 2!!!!! And we are reminded of this AGAIN in what episode but EPISODE 1 of SEASON 3!!!! You getting my drift here pally? Lets start off by looking at what Mike Coles Blog has to say about this storyline in context of the finale by quoting his very own introduction. Lets see what he says for himself;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Because of the dramatic subject matter and the contemporary setting, we – the audience of The Sopranos – have a tendency, if not a desire, to view the show as a window into an alternate reality. For example, when Carmela says “You may not realize it, but you are making contacts,” we like to think she is doing so because that happens to be the thought going through her character’s head at the given moment. When the scene cuts from a discussion between Meadow’s and Patrick’s families to a cat at the Bada Bing, we like to think we are just witnessing the next relevant happening in a chronology. When AJ develops a relationship with a girl named Rhiannon, we like to think that just happens to be the name her parents chose to give her.

However, The Sopranos is first and foremost a work of fiction. And as such, it is likely subject to all the plot development devices commonly employed by authors of fiction including: dramatic irony, symbolism, and meaningful scene sequencing. Using an understanding of these techniques to glean clues from the final two episodes, we can clearly conclude the following:

1.Tony was indeed “whacked”2.Carmela and AJ also were killed3.Meadow lived4.Patsy Parisi betrayed Tony5.AJ inadvertently facilitated the murders6.Rhiannon was an unwitting accomplice for the murders[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]OK, you’re probably feeling like me the first time I saw this. Wow, theres no way this can be true, theres no way this pans out. This is crazy! Thats until you see the whole argument being made to the contrary. But Im not here to do that. Im merely using one piece of this overall thread from Mikes blog. The Patsy&Carlo&Jason&Jason betrayal twin Judas piece with Rhiannon as the Scarlett woman. In this way I wish to encourage you the reader to read the whole piece and not straight up plagiarize it. Besides, its almost as lengthy as the one you’re reading right now. “this thing of ours” inspires much chatter and deciphering which is part of the magic, part of the fun, like a zeppole at a street Carnival for a Saint, or a ride you can ride on, over and over, like how a wheel in the sky keeps on turning. Speaking of wheels lets take a look at the significance behind the destruction of AJ’s Xterra in the finale in a maybe oft missed perspective, yet one with much reason to be substantiated as legit. I want to show you how this one is important, so important Ive been saving it as ONE of my Aces in the sleeve. I was afraid even to alert you of this blog, as this analysis is not only complimentary to this one but on some levels even more original and superior. Lets let Mike dissect some scenes shall we;[/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To be Continued)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="5"][font="Times New Roman"]Immediately following the discussion of the cat and how it “catches mice,” we next transition to a sequence in which AJ picks up Rhiannon.

Scene: AJ and Rhiannon in AJ’s SUV

This whole scene is played out against the backdrop of Bob Dylan’s song It’s Alright Ma (I’m Only Bleeding). One of Dylan’s most famous lines occurs in this song, albeit at a point in the song that precedes the start of the scene:

He not busy being born is busy dying.

One reasonable interpretation is that AJ is unwittingly “busy dying” through the pursuit of his relationship with Rhiannon.

[Rhiannon smokes a cigarette]

The imminent engulfment of the SUV in flames is symbolic of the impending crucible of violence that awaits the Soprano family. Although the fire is ostensibly attributed to the SUV’s catalytic converter and the leaves in which AJ parked, the fact that Rhiannon, just moments prior, is depicted with a source of fire is nonetheless symbolically meaningful.

The lack of noticeable flame and smoke associated with the cigarette is a curiosity. This may well be an allusion to the subtleness surrounding the idea that Rhiannon is the symbolic source of the “fire”.

AJ: This could be a mistake.

More dramatic irony. On the surface this comment is referring to the AJ’s concerns over his and Rhiannon’s decision to pursue a physical relationship. However, in the broader context of the story line, this statement is an acknowledgement that the relationship with Rhiannon is a mistake, as it will ultimately enable the murders of the Sopranos.

AJ: At least my gas tank was practically empty.

[SUV explodes].

In addition to providing comic relief, this line is serving to illustrate the extent to which AJ misunderstands the situation, both literally and symbolically. A gas tank that is “practically empty” is, in fact, a dangerous thing due to the presence of gas fumes and oxygen. He is equally unaware of the danger associated with his and Rhiannon’s relationship.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Scene: Returning to the Bada Bing

[Cat jumps on the table]

Crew Member 1: He was at the safe house. We brought him over.

Paulie: Get him the f**k out. These are snakes with fur. The old Italians will tell you, you can’t even put them around a baby. They suck the breath right out.

Crew Member 2: Well, you’re the only baby here, so we’re ahead of the game.

Paulie: You wanna be wearing his f**king pelt on your head? I said get rid of him.

Tony: Leave him. He’s a good guy.

Equally important as the cat representing death – Tony’s in particular – are Paulie’s and Tony’s respective attitudes toward the cat. Paulie wants to have nothing to do with it. He wants the cat gone, immediately. This attitude is a reflection of the take-no-chances, eternal vigilance, that a successful life in the Mafia requires. The reference to the “old Italians” is a confirmation of this attitude based on long-standing Mafia traditions. Tony, on the other hand, steps in on behalf of the cat and in so doing secures the cats presence in the Bada Bing. He is, in essence, letting down his guard and is so doing allowing the cat, i.e. his own death, to exist.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Tony: Speaking of jokers, where’s that other son of yours today?Donna: I didn’t think he was invited.Carmela: I just thought with all the wedding talk, you know…Tony: No no, really… That pal of his, the other Jason, I heard he ran into some trouble. Carlo’s Jason.Donna: He’s a mess.Patsy: All right. [forcefully]When we consider the prospect of communication-challenged Donna navigating the minefield that is the subject of Jason Gervasi, we can’t help but cringe in explosive anticipation. Patsy, acting on the knowledge of his wife’s limitations, puts an immediate and unambiguous end to her attempt at contributing to the conversation. Of course, the most important question remains unanswered: to what extent is Jason Parisi involved in Jason Gervasi’s legal problems? If nothing else, we’ve learned that Donna is well aware of the situation.Tony: Of course, this one here would only take the case for free [referring to Meadow].Patrick: That’s why we want her over at Grubman, Grubman, and Curcio. Actually, Mead and I have had some conversations and we may still snag her over at the firm, when she’s done with law school.Carmela: No kidding?Meadow: We went out to dinner with Steven Grubman and the subject came up.Patrick: Steven was very impressed with her work at the Poverty Law Center. He even got into starting salaries. He was talking 170.Tony: Jesus, sweetheart, that’s fantastic.Meadow: He had had too much Gevrey.Patrick: Don’t devalue yourself. We’ve got a really interesting case right now. We’re defending James Trefoglio, the county commissioner, on those corruption charges.Donna: That’s your case, honey?Patrick: Bid rigging. It’s got bagmen, whores. It’s fascinating.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]The point here is that despite Tony’s and Carmela’s previous aspirations for Meadow in terms of having a successful life outside of the family “business,” she’s clearly on a path that would land her right in the middle it. Were it not for the impending catastrophic events, Meadow soon would be pursuing a career as a criminal defense attorney defending the likes of the county commissioner. This is part of a Mafia self-perpetuation theme. Despite Meadow’s initially altruistic character, as evidenced by her previous desire to become a Pediatrician and her work with the “Poverty Law Center,” her experiences and relationships are slowly but surely corrupting her values. In short order she will be in the realm of “bagmen” and “whores”. A similar theme exists with AJ.Regardless of whatever questions may exist regarding the morality of Patrick’s and Meadow’s chosen line of work, the love they have for each other appears to be authentic. This is important for two reasons. (1) When Patsy decides to betray Tony, he is unlikely to involve his son Patrick even though Patrick likely will be privy to information that might prove to be useful. (2) Patsy will likely take extra precaution to insure that Meadow is not harmed in any way.Scene: Tony and Paulie Talking Outside SatrialesAs the two discuss Paulie’s extreme precaution in the avoidance of death and Tony’s aggravation with it, the conversation again turns to the cat. There is more clear association between the cat and death and more clear illustration of their respective attitudes toward the two subjects. Included within the discussion is a second reference to the cat catching mice – a re-emphasis of the connection between the cat and Rhiannon.After Tony leaves the scene, we are left with a wide shot in which the cat has entered the scene. The cat, which symbolizes Tony’s death, has replaced Tony.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Wow! Im not going to say anymore. I want the analysis I shared to speak for itself, in this section, but more important in the context of its entirety. I want to also leave some small amount of ambiguity even and encourage you the reader to find more while watching the show itself. Let me explain why. [/font][/SIZE]

[SIZE="5"][font="Times New Roman"]First lets address the different interpretation of the Cat. I personally don’t see any contradiction at all between my analysis and mike coles about the Cat. There are many parallels to what we both are saying and the perspectives arguably add to or compliment each others. So to me the cat remains Schrodingers cat even in both analysis’s which is part of why Im incorporating this one into mine. Now there is so much more to this story for sure, a whole blog worth even! I encourage you to explore more, Im merely weaving its context into my quilt of many pieces to build this huge narrative Im building and in doing so inviting you to look at each piece in depth. Each piece I weave comes from another source of information worthy of its own exploration, beyond just my own personal ones I offer as a watcher of the show making observations myself. This is a good example of this. So as you can see, the Judas story was\is being played out though Patsy for many seasons of the show, sometimes subtly, sometimes not so subtly. Season 6 more than any is all about the more subtle, subliminal effect even. Thats why you know this Patsy thing is real, because you’ve always kinda sensed it. Its just that no one handed to you, like we are conditioned for TV shows to do especially, but movies also to a degree. To make everything neat and tidy, black and white, Chase is often quoted for his dislike of this kind of restraint TV puts on the creative process preventing it from it being used to highest potentiality in my opinion. To take the mystery away and just feed your most basic yearnings more primal yearnings of understanding, never challenging your deeper ones. All the classics of the ages have one thing in common maybe more than anything else. They never adhere to any status quo yet ironically can become the status quo or overthrow the status quo and replace it.

But enough already, please watch the show again with new eyes, and tell me you can’t see it differently, too. You will and you will LOVE IT! Trust me. IT really works. Its like 3d glasses you didn’t realize you needed all this time. Thats why Im writing this. I want to share the magic but not diminish it too much in the process, just nudge you, like Sisyphus and his stone. I pray Chase, if you or any of the dream machine is reading this, on some level appreciate my efforts, as I don’t mean to diminish the mystery and I try to leave things out cleverly so the audience still have things to find on their own. Its the gift that keeps on giving truly and I honor this masterpiece by keeping in its spirit of generosity. Now that we have this Judas discussion out of the way, lets countdown to the finale of “this thing of ours” This Analysis, this show, Tonys life, the Sopranos life, all of it. The build up is terrifying, like terrorism. Good thing we have prophetic hunchbacks, right Bobby? But first lets have a little fun in a coma in Norway for a second shall we?[/font][/SIZE]

[SIZE="5"]Question: Do you believe life has an arc? Or is it just a bunch of stuff that happens?

Chase: Is there a purpose you mean? Everything I have to say about this is in the show. Go look at Albert Camus’s Myth of Sisyphus. It’s all there: Life seems to have no purpose but we have to go on behaving as though it does. We have to go on behaving toward each other like people who would love.

Question: So, it’s still worth trying?

Chase: Of course. What else are you going to do? Watch T.V.?[/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="5"][font="Times New Roman"]Just for shits and giggles, heres a small argument that suggest the possibility that perhaps Lillehammer is but a dream of Dante, I mean, Silvio. Deliberate or not? You be the judge! Starting exhibit one, a quote from the episode “Mayham” in which Silvio becomes boss in Tonys coma absence. Listen to this interesting piece of dialogue I emphasized for you;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"What do we do here, Sil?"-Bobby" Here's the thing."-Silvio"What, skip?"-Vito"For the time being, it's Bobby's. But he's still gonna kick up to you 20%."-Silvio"How long's for the time being?"-Vito"Yeah, Sil."-Bobby"What, do you speak NORWEGIAN? For now. We'll see how much is there."-Silvio[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Lets see what wikipedia has to say about the Lilyhammer the TV show in its synopsis or general description of the show for those who are reading that have not watched it yet;[/font][/SIZE]

[SIZE="6"][font="Times New Roman"]Paulie as a Priest?? Only in Silvios Coma world could this be true.....[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Lilyhammer is a NORWEGIAN television series, starring Steven Van Zandt, about a fictional New York gangster, Frank "The Fixer" Tagliano, trying to start a new life in isolated Lillehammer, NORWAY. The first season premiered on NORWEGIAN NRK1 on 25 January 2012 with a record audience of 998,000 viewers (one fifth of Norway's population),and premiered on Netflix in North America on 6 February 2012, with all eight episodes available in full for streaming on the service. Lilyhammer was promoted as "the first time Netflix offered exclusive content". The spelling of the series title alludes to Lily—Tagliano's dog—killed in the first episode during an attempt on Tagliano's life, and the way Frank and some other anglophones pronounce the town's name.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Hmmm, interesting. very dream\coma like indeed. Well just to add to this spicy meatball of a “theory” lets go to a particular scene in an episode from season 3 of the show Lillyhammer. In the first episode of season 3, while Johnny\Silvio is reviving in the hospital, he's in the room with an old man, who is less than lucid, who says "it's all a dream Silvio”. Just in case you hadn’t caught on, they had to really point it out to you. Now go back and find more, because I guarantee they left a trail where that came from which is worthy of a whole thread in itself. But because of my namesake I thought it would only be right to give it an honorable mention to add to the mythology of this thing of ours. Happy digging![/font][/SIZE][SIZE="5"][font="Times New Roman"]And then in a scene where Paulie and his Aunt make up, they reconcile silently over an episode of Lawrence Welk. The dialogue on the TV says;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"Whoo! Whoa! Where's our belly? As you can tell by this outfit, folks, I've picked out something with a little NORWEGIAN flavor. I'd like to play for you the "Johnny OSLO Shadish. It's a typical Norwegian dance, and who could do it better Than Bobby and Cissy?"-Lawrence Welk [/font][/SIZE]

[SIZE="7"][font="Times New Roman"]Quasimodo, the lucky Hunchback of Nostradamus[/font][/SIZE][SIZE="6"]9\11, terrorism, and “The Sopranos…..[/SIZE]

[SIZE="5"][font="Times New Roman"]“It (9/11) changed the whole show……In fact, [the effect of 9/11] was actually developed consciously in the last episode of the entire series. [The final episode] is really about that feeling of foreboding.” -David Chase [/font][/SIZE]

[SIZE="5"][font="Times New Roman"]“The Sopranos” is very much a art timepiece , meaning the show has always had a way of perfectly capturing the American culture at a particular time and place. We see this in the first two seasons which definitely still have a certain 90’s feel if you will. Another recurring theme maybe than any other is in the theme of terrorism both pre and post 9\11, with the latter being the more emphasized in the Seasons 4, 5, and 6 which are all filmed\written post 9\11. The threat of terror was definitely ever present in the days and years immediately following the September 11th incident in America. As a piece of fiction with political leanings The Sopranos arguably seeks to critique a certain part of our fear based culture that really became ever present post 9-11 and the never ending “War on Terror". I write this section in all due respect to the victims of 911 and terrorism anywhere. And also in respect to the work James Gondolfini and Paul did with Soldiers in combat and returning ones with PTSD. Jimmy was\is truly an angel for his work as well as the rest of the crew in the aftermath of 9-11. Much of the political commentary in the show is very critical of the Bush Admin, 9-11, and Iraq War, so I intend to let it all speak for itself and not infuse too much of my own political leanings. is In this next section I will take you on a ride to show you the many ways “this thing of ours” wove post 9-11 terrorism deep into its narrative, making several poignant commentaries even through the device of certain characters dialogue. Im also throwing in a dash of what is known as synchromysticism into this sauce, to show you how strangely this whole thing brings us full onion ring back to The Monolith. Hold onto your hat Dorothy……..We’re going to tackle this section in a more time linear fashion than others, mostly to highlight how much and how long this show has incorporated “terrorism” almost as an invisible character, a hidden menace, an un seen danger, "a giant piano hanging by a rope just over the top of your head every minute of every day.” to quote Carmela. Terror is the tool of many a great filmmaker, especially Hitchcock, who is arguably the master and originator of much film terror. You know Chase once Directed and episode of the 80’s Hitchcock remake series, so not only is he an avid admirer but also a serious student of Hitchcock himself. But thats all Ducks and birds, I mean eggs and oranges, I mean, ahhhhhh, never mind………Lets see look at where and when this terror thing started in “this thing of ours”. Lets start by looking at dialogue from the first episode of Season Four, “For all debts public and private”. A very interesting conversation between Bobby and Tony at a Diner over dinner.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"How's your family doing, you know since the tragedy with your dad?”-Tony Rough on my mother. How old is she now? "-Tony"She's 69. Mom really went downhill after the World Trade Center. You know, Quasimodo predicted all this.”-Bobby"Who did what?”-Tony"These problems. The Middle East, the end of the world.”-Bobby"Nostradamus. Quasimodo's the Hunchback of Notre Dame.”-Tony"Right. Notre Damus. Nostradamus, and Notre Dame.”-Bobby"It's two different things completely.”-Tony"It's interesting, though, they'd be so similar, isn't it? And I always thought, Okay, Hunchback of Notre Dame. You also got your quarterback and halfback of Notre Dame.”-Bobby"One's a fucking cathedral.”-Tony“Obviously. I know, I'm just saying. It's interesting, the coincidence. What, you gonna tell me you never pondered that? The back thing with Notre Dame?”-Bobby“No!”-Tony [/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Before talking too much about September 11th, lets pause and take a look at both this Nostradamus Character and Quasimodo for a minute. I mean why invoke these two characters into “this thing of ours”? Nothing on this show is an accident as Matthew Weiner once said, so we can say its safe to assume we should take a closer look at what the writers are pointing at, besides poking a little fin at the over obsessive need of people to have explanations for tragic events like September 11th. The connection some have made to Nostradamus and his famous predictions to 9-11 is over this particular prophecy of his;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]XII 52 *Two bodies, one head, fields divided in two, And then to reply to four unheard ones: Little ones for great ones, clear evel for them, Lightning at the tower of Aiguesmortes, worse for “Eussouis”[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Two bodies=Two Towers Four unheard ones=Four planes hijacked and “unheard” fromLightening at the tower=This one is the more obvious, with a tower reference. The two names in the last line suggest two towers, or two names for each tower. This is the generally accepted possible prediction that is being played on in “The Sopranos”. One more thing about Mr Nostradamus, heres a little bit of a wikipedia article[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Michel de NOSTREDAME (depending on the source, 14 or 21 December 1503[1] – 2 July 1566), usually Latinised as Nostradamus,[2] was a French apothecary and reputed seer who published collections of prophecies that have since become famous worldwide. He is best known for his book Les Propheties, the first edition of which appeared in 1555. Since the publication of this book, which has rarely been out of print since his death, Nostradamus has attracted a following that, along with much of the popular press, credits him with predicting many major world events.[3][4] Most academic sources maintain that the associations made between world events and Nostradamus's quatrains are largely the result of misinterpretations or mistranslations (sometimes deliberate) or else are so tenuous as to render them useless as evidence of any genuine predictive power. (emphasis added)[/font][/SIZE]

[SIZE="5"][font="Times New Roman"] So this kind of explains the reference, lets now take a look at Quasimodo, as this reference seems a little more of a riddle. Forgive me but as you can tell, I love a good one, and even more I love the process of dissecting it. So heres some excerpts from wikipedia about Mr Quas I. Modo;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Quasimodo is the bell-ringer of Notre Dame and a barely verbal and half-blind hunchback. Ringing the church bells has made him deaf. Abandoned as a baby, he was adopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his only two outlets — ringing the BELLS and his love and devotion for Frollo — are described. He ventures outside the Cathedral rarely, since people despise and shun him for his appearance. The notable occasions when he does leave are his taking part in the Festival of Fools — during which he is elected the Pope of Fools due to his perfect hideousness — and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral at the end of the novel. It is revealed in the story that the baby Quasimodo was left by the Gypsies in place of Esmeralda, whom they abducted.(emphasis added)Quasimodo, protagonist of the 1831 French novel Notre Dame de Paris (most often called in English The Hunchback of Notre Dame) by Victor Hugo, was found abandoned on the doorsteps of Notre Dame Cathedral on the Sunday after Easter, AD 1467. In the words of the novel:He [sc. archdeacon Claude Frollo, Quasimodo's adoptive father] baptized his adopted child and called him Quasimodo; whether it was that he chose thereby to commemorate the day when he had found him, or that he meant to mark by that name how incomplete and imperfectly molded the poor little creature was. Indeed, Quasimodo, one-eyed, hunchbacked, and bow-legged, could hardly be considered as anything more than an almost

A theme that occurs in the Book Four of The Hunchback of Notre Dame is love. Love can exist in many forms. Love between mother and child, love between one and his hobby, and love between one and an object are relationships that are all present in the Hunchback of Notre Dame. Claude Frollo is the priest of Notre Dame. Growing up, he was a very intelligent boy. He was fascinated by science and medicine. He had a love of learning; it was his passion. Later in the story he even turns to science and studying when he feels his life is going downhill. Learning was Frollo’s love until the day his parents died, and he adopted his baby brother, Jehan. Then he realized “that a little brother to love sufficed to fill an entire existence.” Frollo put all of his focus into caring for Jehan, and he loved him unconditionally. He also adopted another child later named Quasimodo, for the very reason that “if he were to die, his dear little Jehan might also be flung miserably on the plank for foundlings,--all this had gone to his heart simultaneously; a great pity had moved in him, and he had carried off the child.” Although the child was hideous and no one else wanted him, Frollo promised to care for him and love him always, as he did with his brother. Quasimodo’s ugliness only strengthened Frollo’s love for him. When the foundling grew up, he was given the position of bell ringer by his master, Frollo. “He loved them [the bells], fondled them, talked to them, understood them.” Quasimodo loved his bells; his most beloved bell was named Marie (the largest one). Quasimodo also loved his father, Frollo. After all, he “had taken him in, had adopted him, had nourished him, had reared him...had finally made him the bellringer.” Even when Frollo was unkind to Quasimodo, he still loved him very much. In Book 4, a love between father and son is seen. Frollo loved both of his adopted “babies” very much, and everyone had objects and hobbies that they loved dearly too; Frollo loved to learn, and Quasimodo loved his cathedral bells.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]This is one of the first times we see the subject of Bells brought up with the mention of Quasimodo, in reference to terror, or impending terror. More on this later, but make a little mental note. This is the first time we also hear about the September 11th attacks on the show. This showed aired September 15, 2002, 4 days after the one year anniversary, so many Americans were eagerly anticipating Chase and Co’s commentary on the events and how they would be incorporated into the shows narrative. First thing noticeably different was the absence of the world trade center towers from the shows opening credits. It was instead replaced with a shot of a toll booth out of respect. Up until then it was definitely an important part of the opening shot as it was so identifiably NYC as to reference you to the geography of leaving NY state towards Jersey. So this was definitely a big move, to take it out. But it also acknowledges the sense of loss to take it out, a way of respecting it even for what it is no matter what side anyone is on, a tragedy with a huge human toll of epic proportions on US soil. Yet even though the buildings were gone, the character of Terror became more apparent then ever in the series run all the way to the Finale, which makes it important enough to analyze. In this episode is also the appearance of the $20 bill, featured prominently in the final scene and the final shot even which is a close up of Andrew Jacksons eye, like an all seeing eye, that stays through the whole credits, a rare thing done in only one other episode. The $20 strangely fits into some 9-11 conspiracy mythology. Right after the tragedy, a thing started going around the internet that showed if you folded the $20 bill, among all the others, like the old back cover of Mad Magazines, it made a picture that closely remsembles the scenes of 9-11. It sounds nutty but it also looks kinda eerily close. Lets take a look.[/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To Be Continued..)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="5"][font="Times New Roman"]"And all the while this is happening that song from "the wizard of oz" is playing."-Dr.Melfi"'Over the rainbow'?"-Dr"No, that other one, they're in the poppy field."-Dr.Melfi(he hums "You're Out of the woods")"Out of the woods."-Elliot"That one. Anyway, he goes into a full- blown panic attack and he passes out. He crashes into this huge truck.The fact that he can't see the road ahead suggests my abandoning him."-Dr Melfi"Who in "wizard" would your patient be? "-Elliot"Given the fact that he's a powerful, dominating male, oz himself. What, elliot, with the eyebrows already."-Dr. Melfi"The wizard of oz", what memories does it conjure up?"-Elliot"My parents' house, watching it on tv. Hiding under the blanket with my sister. I'm gaining weight."-Dr Melfi"Why do we love roller coasters, jennifer? Scary movies? To experience the thrill of being terrified without the consequences."-Elliot"That's very good, elliot."-Dr. Melfi"Great film, but some terrifying moments."-Elliot"That's very perceptive"-Dr Melfi"i'm concerned that treating a mobster provides you some vicarious thrill."-Elliot"It wasn't exactly vicarious. I had to go into hiding, remember? And wasn't that thrilling? Fuck you! You think this is funny? You smug cocksucker! Fuck you!"-Dr Melfi (Knight In White Satin Armor)[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]So the writers are very much aware of the many levels terrorism is being used in the media, and they used it as part of the shows tension, as it had become a part of societies daily tension, and the show has always been a timepiece like I said. So its only natural in a sense, but yet also deliberate as well, deliberate in the way it was conveyed and its underlying\subliminal message. But even before 9-11, “The Sopranos” was already talking about terrorism. Lets take a look at dialogue from a couple scenes. First is Gigi and Tony, in the episode "Employee of the Month", where they share this interesting dialogue;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]“Taxes. Why don't they use the money to fix the goddamn air traffic controllers?”-Tony"Fightin' terrorism, that's what we should do.”-Gigi[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]That episode aired just a few months before September 11th making the statement eerily prophetic even. So even back then there is a reference to terrorism and airplanes in the same conversation. "The Sopranos" Prophecies? Faggaddaboutit! But maybe…. Heres another interesting piece of dialogue between Pussy and Skip , the FBI agent he got all “Stockholm Syndrome” with, in the episode "Knight In White Satin Armor";[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"What's this?”-Skip"Open it.”-Pussy"I could see it's JW gold. But we can't accept gifts, Sal. I'll pass it along to the guys at the fireman's home.”-Skip"See, that right there, you guys have a policy and it's fucking stuck to.You don't get distracted. Look what happened with those egyptians, those motherless WORLD TRADE CENTER fucks. Serial numbers on an axle and you put everyone of them behind bars.”-Pussy"What the fuck is all this?”-Skip"I owe you, Skip.”-Pussy[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]He of course is referring to the bombing incident of ’93 at the WTC, but it goes to show how early on the device of terrorism and its theme being woven into the texture of the show. Not only that but connecting terror to the building itself that was later demolished with all those innocent people inside. Very interesting. Part of what is called synchro-mysticism. The Idea that some creative expressions have the ability to subconsciously express a future possibility in the real world timeline. Sometimes this is deliberately done by the artist, other times it is just the universe winking its eye at us, the moments of order in its chaos. Sometimes movies, music, and art in general have a way of almost being prophetic in a strange way that even the artist didn’t intend or was even aware of. This is not unheard of in the traditions of Art. And the Sopranos being a great work of Art, its no surprise we find these elements within “this thing of ours”. But more importantly that that we see the theme being set up of Terror, long before the 9-11 tragedy itself, as a important character in the shows tapestry. After the first episode of Season 4 its safe to say the door was wide open for that narrative to unfold within the larger narratives at play. Lets look at some other examples from Seasons Four and Five before getting into Season Six where the topic really starts to take center stage at points. Some of the Story Arcs start back in Season Four or Five some start in Season Six. There are far fewer in Seasons four and five combined so lets start there. So the next very interesting piece of dialogue will only go to show what Im saying is truly valid in case anyone is wondering. It’s from Season 4’s premier episode “All debts Public and Private” where Tony is in a Session with Melfi and states something that resonates all the way to the finale.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"I've analyzed it. There's TWO ENDINGS FOR a guy like me.High-profile guy. DEAD, OR IN THE CAN. Big percent of the time.”-Tony"You've never talked this frankly.”-Dr. Melfi"Even with all this TERRORISM shit, the government has resources up the ass. As far as legal bills are.”-Tony“Anthony!”-Dr Melfi“What?”-Tony"Why don't you give it up?”-Dr. Melfi"You didn't let me finish. There's a third way to wrap it up. You rely only on family.”-Tony[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Well we all know how well the third way worked out so that points us back to the other two options for an “ending for a guy” like Tony. This is one of the most explicit statements about the ending of the show in my opinion and stated way back in Season 4. Continuing this way in Season 4 we see, in the episode “Christopher”, the parallel being made between Columbus and modern day terrorism in a dialogue between Hesh and his old friend.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"Why is that?”-Tony"Jews, because of their history, have common cause with the oppressed.Some Indians were deliberately given blankets tainted with smallpox. Died like flies.”-Hesh"No shit?”-Tony"Yeah, shit.”-Reuben“Yeah?”-Hesh "You wanna talk about terrorism? Look who started it.” -Reuben"Amen to that, my friend.”-Hesh"That's right. Christopher Columbus was no better than Adolf Hitler.”-Reuben[/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To Be Continued...)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="7"][font="Times New Roman"](Continued)[/font][/SIZE]
[SIZE="5"][font="Times New Roman"]In Season Five, there starts to be even more dialogue about terrorism. Everything from Phil being the “Shah Of Iran” to talk of SUV’s. Lets look at some samples.

Season 5 “In Camelot" Tony is driving his SUV when he sees Phil. He’s listening to “Rock the Casbah” By the Clash loud on his radio. As he sees Phil getting into his car the lyric “Shah really don’t like it…” plays. Then as the chase ensues the song keeps playing “Shah really don’t like it.” until Phil crashes into a parked Boars Head Meat Truck. After the crash, Tony B talks to Tony S about repairing the car"[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"What's up?”-Tony B"Pussy's Body Shop is one of your stops, right? They're fixing the fucking SHAH OF IRAN's car. Be there when he picks it up. Make sure he's happy, but don't let the shit spiral out of control.”-Tony S.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]So Iran is invoked as another reference to the “War On Terror” as Iran is one of Bush’s infamous “Axis of Evil”. So the Chase Machine is most definitely giving a wink and a nod with these “Shah" references. Later on in Season Five we find out that Adrianna is suffering from IBS ( a lot of bowel suffering in this show, it will be included in the appendix, pun intended) and she describes its related to terrorism related stress, much like one can describe watching certain scenes and episodes of “The Sopranos”.[/font][/SIZE]

[SIZE="5"]"What do you got to be stressed about? That bar?”-Chirs"War, Christopher? The Middle East?”-Adrianna"You don't listen to the President? We're gonna mop the floor with the whole fuckin' world. The whole world's gonna be under our control, so what are you worked up about?"-Chris[/SIZE]

[SIZE="5"][font="Times New Roman"]So we see terrorism associated with stress in the show, therefore revealing itself again as a hidden character in the narrative. Another theme that appears more prominently starting in season five in SUV’s and their impact or connection to the “War on Terror”. After AJ is gifted his brand new Xterra in "All Happy Families...,” Tony and Carmela sit in the car talking to AJ;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"Carmela, this car is a TANK. What's the matter?”-Tony"SUVs eat up more of the ozone.”-AJ"So you wanna be the sucker in a regular car that gets decapitated?”-Tony "I'm gonna catch shit at school.”-AJ[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]So Tony equates the Car to a Tank, and AJ mentions the environmental impact of fuel sources. Later on in the same episode, a dialogue at a high stakes poker game includes more SUV talk;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"Tony, you liking the Escalade? I can't keep them on the lot.”-Asa"I love it after I pulled out that global positioning shit.”-Tony"Oh, right.”-Asa"Always got his eye on the big picture.”-Tony"Up to you. I think you got that ace and I'm not paying you for it.”-Silvio"Aces over. Three threes, my man.”-Paulie"Paulie wins. Cards, please.”-Dealer"You, fuck you.”-Silvio"They used to be a great tax loophole, those SUVs. Told all my clients, write it off on your business.”-Asa[/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To Be Continued...)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="5"]So again we see how SUV’s tie into the criminal world as well as a symbol of overindulgence and wealth. This all connects back to this idea of terrorism. The next big dialogue about terrorism appears in the episode “Cold Cuts" when the two Tony’s and Chrissy visit Uncle Pats farm and Tony has a bad reaction to a news special he watches while staying there one morning. Heres the whole extensive dialogue;[/SIZE]

[SIZE="5"][font="Times New Roman"]"Port Newark but one example.Six million containers enter U.S.ports every year, yet fewer than two per cent of them are opened and inspected by U.S. Customs.It is impossible to check every container without essentially stopping global commerce.But what keeps officials from sleeping at night is that terrorists could use shipping containers to smuggle in a weapon of mass destruction.It is within the capabilities of Islamic fundamentalists to track a container with a Global Positioning System and detonate a nuclear or biological weapon hidden inside.”-Voice on TV"Son of a bitch. A terrorist could use a shipping container to smuggle himself into the country. There he is. What I saw on TV last night.The ports are wide open. Government's not doing shit.”-Tony"Where's my butter substitute?”-Pat"In front of you.”-Tony B"Didn't you hear what I said?”-Tony S"I knew it was bad.”-Chrissy"Seven million containers. The news team put radioactive shit in one of 'em.It wasn't even detected.”-Tony"Please, my ears. Sit down.Sit. Come on. I made eggs.”-Pat"Could've been a goddamn A-bomb.”-Tony S"You want coffee?”-Pat “Yeah. Fuckin' terrible nightmares.”-Tony S"Yeah, it knocked the edge right the hell off your appetite.”-Tony B"What's the matter with you?”-Tony S"No, it is some scary shit.”-Tony B"Not my problem much longer.”-Pat"Speaking of scary shit, was that you in the bathroom?”-Tony B"Oh, yeah.”-Tony S"I thought they already dropped the biological weapon.”-Tony B"All right, I gotta go.”-Pat"I thought we were gonna go hunting.”-Chrissy"You hear the turkeys this morning?”-Tony B"No, I gotta take off.”-Pat"Uncle Pat. Take care of yourself. Be careful of the alligators down there.”-Tony B"All right, tough guy.”-Pat[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]So here you have Tony facing a fear larger than anything he can control,a similar felling many Americans felt post 9-11. This foreboding threat, this invisible enemy that would strike anytime anywhere. It was one thing in the mafia to feel that way because of the mafia, but to feel that way because of terrorism overshadowed even the mafia world. That is what the writers are showing us in a way. Tony feels a very tangible fear as those ports in Jersey is where he does regular business, meaning the paths of business are crossing. Terrorism and the mafia, at the ports. This is a concern for Tony and all made guys in Jersey. Back at the Bing Tony continues to talk about the news he saw;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"My uncle's farm. Less than 100 miles from here. It's like a whole different world. The bullshit really falls away up there.Hear about that shit with the ports? Customs agents are bad for us, but antiterrorism-wise, they're doing nothing. What's it gonna take, a fuckin' nuclear bomb? They caught one al-Quaeda cocksucker in one container.”-Tony"They caught him.”-Georgie"There's enough they don't catch.”-Tony"The administration's busy too, giving noncompetitive building contracts to friends.”-Paulie"Hell, we can all understand that.”-Silvio"We're sitting DUCKS here. Only thing between our homes and Port Newark is a chain-link fence. They get a nuclear bomb in a container and we're fuckin' dead.”-Tony ST"hat's why you gotta live for today.”-Georgie"What'd you say?”-Tony"That's why you gotta live for today.”-Georgie"Talking about annihilation, you stupid fuck! Your kids, my kids, burning into cinders!”-Tony" I can't even think about it.”-Georgie"You stupid Can't even fuckin' think about it? Motherfucker, huh? Think about it now? How about now?”-Tony(beating Georgie)"Hey, Tony! Tony, take it easy.”-Silvio[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]This is Tony classically refusing to “look on the bright side” as Georgie is almost comically suggesting. Tony instead takes his position even stronger, beating Georgie up for challenging Tonys fears with positive thinking. Very strong statement about most Americans refusal to inability to ignore the threat whether real or not of “terrorists” that post 9-11 Americans were faced with dealing with in many types of planned scenarios. This caused so many like Tony to live with this foreboding sense of any moment it could end meaning that was why we had to be more diligent in finding terrorists, rather than just “enjoy the moment” as Georgie suggests. This scene is a metaphor no doubt for the larger debate happening in America at the time done perfectly. Also in the dialogue I highlighted the insertion of the word “Ducks” which is no coincidence Im sure. Another more obscure terrorism references in Season five is found in the episode “Marco Polo” when Tony B discovers his twin boys stole a coin collection form AJ;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"What's this?”-Tony " I don't know.”-Justin"Yes, you do.”-Jason"Shut up. Am I talking to you, Justin? I asked you a question, Jason.”-TonyPins. From the '96 OLYMPICS IN ATLANTA, it looks like. That's when you were stationed in SAUDI ARABIA, right, Dad?”-Jason"Yes, that's right, but I'm talking to your brother.You took this tonight, didn't you?”-Tony B[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]The Atlanta Olympics was the sight of a infamous bombing gone awry. So those coins being in the show serve no real function but to invoke the terror resonance of that event, thus adding to this terror palette we are painting with.[/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To Be Continued...)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="5"][font="Times New Roman"]Later on in Season five we are given a connection to possible terrorist business with the murder of Gilbert at Adriannas night club back office. Which the FBI have video of her getting rid of evidence later that night that they later blackmail her with in order to attempt to flip Christopher. [/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"There's this guy, his name's Matush. He's a drug dealer. He did it. I swear, not me.”-Adrianna"What's Matush's last name?”-FBI agent"I don't know. He's foreign, the MID EAST or something PAKISTAN. Anyway, Christopher don't let him deal in the club, but once in a while he'd sell me some X or whatever.”-Adrianna"This is my friend Kamal. Listen, I need a favor. We're trying to get an apartment. I gotta fax a copy of my PASSPORT.”-Matush"You can't go to Kinko’s?” -Adrianna"The guy's waiting. Two seconds, I swear.”-Matush"It's in the office, but hurry. If Christopher sees you, he'll shit.”-Adrianna"That's for you.”-Matush"This guy was at the club, the dead guy, but I never saw him before. Matush said he sold him coke once, but the guy said Matush ripped him off, it was all laxative.”-Adrianna"Oh, boy. What's the number again? Hey, yo, you can't be back here, man.Cool out, yo! What are ya doing?”-Matush"Give me my money.”-Gilbert"What? Don't get stupid in here. Fuck off, I got no beef with you.”-Matush"You still sell that beat shit, huh? Fuckin' baby powder? - Gilbert"Look, I don't know, Get him!”-Matush"I'll kill you motherfuckers! I'll kill you!”-Gilbert "Oh, my God!”-Adrianna(walks in to see dead body)"We had to wait till later to get out the mops and stuff, after we closed up.”-Adrianna (to FBI agents)"If Christopher”-Adrianna"Nobody has to know anything.”-Matush"But you don't fuckin' understand!”-Adrianna"It's cool, OK? We'll take him out through the basement. Dump him in the ocean.”-Matush"Why'd you help this Matush?”-FBI agent"I wasn't helping him, I was afraid for myself. Besides, he's nice. I don't know.I didn't wanna see him get into trouble.”-Adrianna"Sounds like a real sweetheart.”-FBI agent"The guy was gonna stab him! He's not a bad person. He's very religious.”-Adrianna“Religious?”-FBI agent"He prays, like, all the time.He went through a period of rediscovering his RELIGION. He don't even do drugs any more, he just deals. Every month he sends all his money home to his family.”-Adrianna"In PAKISTAN?”-FBI agent"His brother runs a prep school.Some place for young boys. I was very impressed with that. He's buckled down. He's much more serious as a person.”-Adrianna[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]So the terrorism link is established in this murder. Making photocopies of passports? Are these the same guys hanging out regularly at the bing in Season six? As we now come to a close on Season five examples, Lets take a look now at some of the themes of terrorism that go all through season six as well. It appears the same group is still connected to Chris even in Adriannas absence. [/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To Be Continued...)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]

[SIZE="7"][font="Times New Roman"](Continued)[/font][/SIZE]
[SIZE="5"][font="Times New Roman"]Season six starts out with the revelation that Tonys long time FBI agent\nemesis Agent Harris has been reassigned to the anti terrorism task force if the FBI. They too seem concerned like Tony about the port areas. It would appear Agent Harris is slyly trying to get the mafia to cooperate with the FBI in the “War on Terror”. Tony is more than ready half naively not realizing that Chrissy is already doing business directly with possible terrorists.[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"Agent Harris, where've you been? I got some new federale in my rear view for six months.”-Tony"Actually, I've been in PAKISTAN.”-Agent Harris "Get the fuck out.”-Tony“Seriously. I was transferred to terrorism. This is my partner, Ron Goddard.Tony Soprano.”-Agent Harris"The terrorist squad, huh?”-Tony"What, did you lose a little weight? You look good.Atkins, right?”-Vito"I caught a parasite over there. Doctors don't know what it is.”-Agent Harris"What do they eat, tabouleh?”-Chrissy"Actually, that's why I'm here. I've been dying for a Satriale's veal parm hero.”-Agent Harris[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Very interesting to see that Pakistan is the location Agent Harris has been. Could it be he was switched to terrorism because of the connection to Adrianna and Matush? Could it be he went in pursuit of that lead and it panned out into something real. I mean they say they are “photocopying passports” in the office, behavior that has become to be know to be synonymous with terrorist activity. Could it be? Lets keep exploring. In “Join the Club” Agent Harris catches up now with Christopher at Satrielles;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]"Ho, Sheriff of Nottingham. My kingdom for a mortadella, huh?”-Chrissy"They make a great sandwich here. No getting around it.”-Agent Harris"What about that disease you picked up over there In diarrheastan or wherever the fuck you were?”-Chrissy"This might be the cure. Yeah, we're sorry to hear about Tony.”-Agent Harris"I got nothing to say about what happened so”-Chrissy"That's not why I asked. How's he doing?”-Agent Harris"He's fucked up. You know what I think? I think you don't come here for the sandwiches. I think you come 'cause you miss us. Hey, I can't blame you.That job you got now must be depressing. How goes the war on terror anyway?”-Chrissy"Working it.”-Agent Goddard"I heard fieldcrest reported a truckload of towels missing.”-Chrissy"We actually spend a little more of our time trying to interdict the financial networks that fund The terror cells worldwide.”-Agent Goddard"No shit.”-Chrissy"Truck hijacking, narcotics. In fact, if you ever heard of anything going down, Middle Easterners, PAKISTANIS, You'd be helping a lot if you picked up a phone.”-Agent Harris"And called you?”-Chrissy"It's your country too, isn't it?”-Agent Goddard "Like I'd know one of these suicide jerk-offs if he bit me on the the ass.”-Chrissy"You knew Matoush Zhia. Hung out at your girlfriend's club.”-Agent Harris"He was a drug dealer, her friend. I didn't know shit about his politics till one of your people told me.”-Chrissy"Something to keep in mind.”-Agent Harris"I take that terrorism shit seriously. And Tony, don't even get him started.”-Chrissy[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]So here again we see mention of Matush AND Pakastan! A direct link. It seems safe to say this is why agent Harris got transferred, when the FBI realized that terrorists were mixing in with the mafia business. This was revealed through Adrianna and her time as an informant.Later on in the episode Chris runs into “Ahmed” at the Bing who asks about Tony being shot;[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]“Chris!”-Ahmed"Oh, Ahmed. You guys here again? You ought to put up a tent on this fucking bar.”-Chrissy"How's Tony? The girl said he was hurt pretty bad?”-Ahmed"He's keeping his dick up.”-Chrissy"His uncle did this to him? I was saying to Muhammad, why the hell.”-Ahmed "Not something we talk about.”-Chrissy"Please, give Tony our best when you talk to him.”-Ahmed"I will.”-Chrissy[/font][/SIZE]

[SIZE="5"][font="Times New Roman"]Interesting, that two religious men would be hanging out in a strip club. Something the Muslim religion completely rejects. Where have we heard this before?? Well in the narrative of 9-11, some of the hijackers were known regulars at strip clubs, something that always seemed like a contradiction. Or maybe its just a clever place to hide out and meet other potential criminal elements and make connections. i think its safe to say Chase and co are deliberately making this connection here to 9-11 hijackers.
[/font][/SIZE]

[SIZE="7"][font="Times New Roman"](To be continued..)[/font][/SIZE]

[font="Franklin Gothic Medium"]You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.[/font][SIZE="1"][/SIZE]